With summer now approaching, Introdans will be concluding the dance season with an unprecedentedly rousing edition of END OF SEASON. The dancers shine in a programme that is devoted exclusively to Barcelona-born Cayetano Soto. He is well-known for his strong and idiosyncratic concepts and the technical challenges he presents to his dancers, above all in the complex partner work in his ballets. Keywords for his creations are: hilarious, sexy, eccentric, witty, wild and exuberant. And above all infectious and joyous. See END OF SEASON, and then the summer can begin!


Spanish choreographer Cayetano Soto was inspired to the cabaret-like M/C by the turbulent friendship between the actress Marilyn Monroe and Truman Capote, the famous author who actually wanted Monroe instead of Audrey Hepburn as the star of Breakfast at Tiffany’s. But you don’t need to know all this – either as an adult or a young viewer – to be captivated by Soto’s brilliant and playful approach to theatre and ballet conventions. Furious name-calling, breaking glasses, a plummeting chandelier: Soto shows in a hilarious way how people, once out of the spotlights, sometimes can’t live with each other but can’t do without each other either. ‘An absolute hit,’ wrote the Flemish newspaper De Morgen.


Fugaz, dating from 2005, marked an important step in the development of the Spanish choreographer Cayetano Soto. He made this atmospheric work – his third creation – as a homage to his father, who died of cancer. The choreography is about transience (‘fugaz’ is Spanish for fleeting or ephemeral), but Soto addresses more in this work than just the impermanence of life. His ballet could, he says, also be about the fleeting nature of a dance career, for instance. “Each person will experience Fugaz differently, depending on his or her personal experiences.” And even if the choreography is inspired by loss and pain, it equally communicates feelings of happiness, relief and gratefulness.


In Malasangre, Cayetano Soto takes his inspiration from the life and songs of La Lupe, the Cuban ‘Queen of Latin Soul’ who celebrated a triumph in the USA in the 1960s. In his creation Soto is able to depict both the sexy swing of La Lupe’s stage performances and her eccentric, rather tyrannical personality. The dancers take the stage alternately in solos, duets and a trio, and the action is far from tender. Arms scythe through the air, legs whip into the air, powerful waves of motion pass through torsos. Soto’s dance idiom is dynamic, tight and forceful, but also contains many grotesque elements and a darker edge here and there, too. During La Lupe’s cover of the over-familiar Guantanamera he has the dancers finish with a wild formation dance in which they seem to ‘dance away’ all their feelings of tension and irritation.


Sortijas is one of the rare stand-alone duets in Soto’s oeuvre, created for the New York Ballet Hispánico in 2013. This choreography, set to sensitive music by the Mexican-American singer-songwriter Lhasa de Sela, is inspired by the circular bond – ‘sortijas’ means ‘rings’ – that connects generations of family members and friends. Soto also fully incorporates these round forms in his normally angular and sharp dance idiom. Sortijas presents a great challenge to dancers through the consistently restrained tension of the choreography as well as the extremely complicated and unusual lifts.

New creation and Conrazoncorazon

In a new creation for Introdans – also a duet – Soto more or less continues the theme and movement language of Sortijas. And then he shows a very different side to his work in the widely praised Conrazoncorazon. This choreography, created for the German company Gauthier Dance in 2015, is a powerful, highly physical work – witty, exuberant and fast, radiating dance enjoyment from the stage like a shower of sparks. With its unisex costumes and the riding helmets worn by the dancers, the ballet has sporty touch but is also sometimes reminiscent of the grotesque ‘Weimar Cabaret’ of the 1920s, as familiar from the legendary film musical Cabaret. The American press described Conrazoncorazon (‘With intellect and heart’) as one of the highlights of the renowned Jacob’s Pillow Dance Festival.

… with a joy in dance that sets the stage alight.
(Het Parool on Malasangre)

…heightened rock-‘n-roll dance set to Cuban songs lends swing to Malasangre.
(De Volkskrant on Malasangre)

…it’s so infectious and joyous.
(Kidsweek on Malasangre)